In this episode we explore how to move and adjust connected clip anchor points in Final Cut Pro X. This will allow you to easily make slip edits and other trims without altering the timing of connected clips. This technique is great for those last-minute edits right before client delivery.

In the introductory episode of Secondary Storyline—the new short-form tips and tricks video series—we look at subframe audio editing in Final Cut Pro X as a way to mitigate potential pops or clicks in audio and make frame-specific syncing a real possibility.

In this episode we'll be covering white balance, Final Cut Pro X's built-in Match Color feature, and how to utilize a color checker if your DP or Cinematographer shot one while on set. You can follow along with this tutorial by grabbing the ProRes files here http://d.pr/f/INxdeZ and the Color Finale Demo here http://d.pr/w1J0Hu

In this episode we'll be working closely with shape masks, color masks, and a combination of the two. We'll learn how to color correct just smaller parts of an image based on a shape or just a single color range. Techniques you learn here can also be used to recreate the Pleasantville effect or, in a more contemporary example, season 2 of Breaking Bad's flash forwards, where the iconic pink teddy bear is floating in the pool.

In this episode we’ll be talking about two key, often-requested topics that are the foundation of nearly every project: media management and switching between proxy and optimized media to quickly complete your edits.

In this episode, we cover the interface of the newly-released Final Cut Pro X.3. There’s a bit of a facelift and some buttons have moved around, but it’s still the same editor we know and love. Happy to be back after quite a hiatus!

In this episode, Andrew will show you how to quickly and efficiently organize your footage with Smart Keyword collection so that you can cut through the clutter of larger or more complex types of shoots and start telling your story right away.

In the introductory episode, Andrew will show you how to compile a timelapse sequence right inside of Final Cut Pro X using either a series of JPEG or DNG images and best practices for not having thousands of images scattered all over your timeline.